Monckyman

Don`t tell him your name Pike! I know it`s another lump to carry, but perhaps an Uninterruptable power supply might prevent power problems with valvey ampage.

My Ashdown mag410 had castors fitted when I bought it, and one of them had caused the bottom of the cab to become wheatabix. There was no load bearing plate. I fitted some of MB1s famous local castors to my Ampeg 410 with T nuts and they`ve been great, and the cab is good enough to take the strain.

I liked the Nordstrand and the Vintage Fender.

Twat it with a lump hammer?

I work with a bassist who uses an SVT II and insist it`s the only thing that allows him to hear everything he plays wherever he stands. He isn`t particularly loud or bassy,and won`t have any D.I in he monitor mix, just the cab mic. I have to agree, the amp has a sort of salt and pepper flavour that others don`t,and it gives an almost 3d texture to the sound. I`ve recently being messing about with my SVP pro, and it`s close.

Some players use different tension/thickness D and G strings to correct uneven tension or volume in some sets of strings, I think rockabilly and bluegrass people do this.

Thanks Fonz for the advice, I think that`s exactly what I`ll do.

I`ve been on a DB tip for the past week getting a "sunday afternoon" set together so, I`ve been playing things like Feists Limit to your love and Jeff Buckleys Lover,you should have come over,and Adeles version of the Cures Lovesong (sounds great with a DB),mixed in with Some Etta James jazz stuff. Tired fingers but happy heart.

They get "modded" by the good citizens of bass chat,who never knowingly let a bargain pass them by...

Used to be a Cop sounds great, will investigate further.Ta

Thanks for the replies all. Here is how it looked. I`ve stripped most of the original black crap off apart from some dark patches where I didn`t want to sand too much until I decided whether to repaint or go commando. Which looks like this: I have to say, the Rosewood(guess) looks perfectly nice on it`s own, and may just require a little tung or danish oil to bring out the colour and protect it. Any advice or thoughts gratefully received. MM

Did a gig in a nightclub (not a venue) in a rockabilly band back in the 80s. left my double bass on it`s side against the back of the stage only for some twat getting chased by the police through the club to stand on the fingerboard. <snap>. Second gig, Wrexham, Rockablilly gig again, depping for someone I hardly knew with his bass. His polytone pickup just bent in the middle and expired in a fit of pique. i had an electric bass but the band insisted I carried on with the DB for the "look" of it.... I had to use an old set of headphones clamped over the lower bout as a makeshift pickup. Was pretty much what made me sell my DBs

Hi Jim. The insert point is POST gain. So you should be able to trim it to suit your desk and send enough to the HA. edit: I just looked at the manual and you have direct outs on the AH420 so you`re sorted. You also have a couple of Matrix outs that would allow you to mix 6 sub groups into one output so you could get another two monitor mixes out of those,say Kit=sub1 gtrs =sub 2.keys &brass=sub 3 Vocals =sub 4,add a bit bit of stereo mix if needed, and for instance main vocal on the mono mix.>send to Head amp and add "more me" from the direct out on the chan. So you are up to 6 pretty comprehensive mixes quite easily. The ART HA seems to do exactly the same as the Behringer, but costs about £120 more new. Worth it? MM

[quote name='ben604' timestamp='1323247162' post='1460896'] does the desk have inserts? You could go into another submixer from your channel inserts, a small desk would probably give you another 3/4 mixes (2 aux, monitor, main outs, even panning channels to mono main outputs gives you another layer...) bit fiddly. [/quote] This. I`ve used this method, and recommended it a lot on here,only instead of direct outs or inserts, I would use splitter cables (Y Cables xlr) to split your chosen channels into another desk. Now I was going to say it doesn`t have to be a big desk, but with 9 members you `ll need at least 12 inputs.(stereo drum sub mix and 10 mono). If you went for a desk that could rout whatever auxes it had to pre fade, then you could use the main stereo bus as another monitor output,so you may get 4 sends from that desk and the original 2 sends from your FOH desk. Still not enough for everyone, but 2 or 3 shared mixes on the front of the stage should be perfectly adequate,especially if they are mostly vocal mixes. I suspect at least half your band don`t have and don`t particularly need, monitoring. Yet another option is use a couple of monitors as sidefills on stands,and stick them on one or two mixes which should throw across the whole front of stage and still let some of the second tier non singers hear them too. Unfortunately all your options involve spending. There are no dodges here with that many musos in the band. After all that waffle, I don`t have an answer to your specific low level into the (Presumably HA7600?)aux input.I used to use one of these in the studio and it works fine. BUT,as it doesn`t have a main level[b] [i]and[/i][/b] an aux in level, but just the one "pan pot" type arrangement, getting the level is a little trickier, as the more aux input you dial in, the less main input you get. so you turn up the master level and start again. The only thing I can come up with is make sure your main input is set how you want it (mono or stereo) as you can stick two mono mixes in, AND your aux more me chan,and that may be losing you level too. Failing that, borrow another one and see if it`s the same. it could be faulty. The new version(HA4700) has a bit of EQ and more visual monitoring for about £70.Perhaps try one of those and if it`s the same, send it back. MM

Thanks all, I`ll get some pics up later. The board isn`t in bad condition,no major pitting or valleys under the string runs etc. It`s just wearing through to the red(ish) wood underneath. The Ronseal looks great,I`ll have a good look at that. MM

Yes.right. I`m afraid I do totally the wrong kind of drugs for all that "we may be where we are or not be" stuff. The Organisation of Silence however makes a great deal of sense, as does the Head Hands and Heart tryptych. Like I said, interesting until he hit that last Camberwell carrot.

The sound the remote makes hitting the screen.

picking a bass up.

It was all quite interesting until that final bong. If you can explain what "If we have nowhere to go, may we be where we are" Means, I`d be truly grateful. Woof.

<Groooan> Seriously, though, I don`t usually comment on these, as I have no tact and I tend to piss people off, but, this seems to be a pretty acceptable rendition! (see what I mean?) You are doing fine for the amount of time spent on the instrument, and your singing is better than many a band I`ve had to listen to. If I had to make a suggestion,it would be to concentrate now on your rhythm,and practice playing what the kik drum is doing.Especially on chorus parts. This would help to lift the song when it needed it, and give a little more dynamic range to what you are doing. It`s difficult at first, I know I`ve gone through it, but once it starts to click, you`ll never look back. Good luck. MM

Lo all, my fingerboard is ebonised rosewood which has seen better days. It needs re finishing, but I`m unclear on what materials to use. My initial thoughts are a decent black paint, topped by a hard wearing satin finish varnish. Any advice gladly received. MM

Hi Skezz, all I can say is try them and see if you like it, don`t let the guitar tag put you off. Having said that,most decent bass chorus pedals allow you to set the lower freq that the chorusing stops at to prevent your bottom end disappearing but I know many bassists who use whatever they like.